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About This Multitrack
20-07-2012, 11:46 AM
Post: #1
About This Multitrack
You can find the multitrack files for this project in the 'Mixing Secrets' Free Multitrack Download Library.

Before posting a mix, please read The Three Commandments!
Please post your mix as a new thread, rather than as a reply to this sticky.

Here's some more project info you might find useful:
  • About The Raw Multitracks:
    • There are sixteen drum tracks available here, all generated from Toontrack's Superior Drummer software instrument: stereo overheads; five room signals (three stereo, one mono, and a mono lo-fi 'squash mic'); close mics for kick (in, out, sub), snare (over, under, 'squash'), hi-hat, and three toms. Spill levels on each of the close mics very much emulate what you'd expect to get with a real multitrack drum recording.
    • The single bass-guitar track is a DI signal.
    • Four guitar parts are provided, all of them double-tracked. Three of these track pairs use mono amp-simulation, while the fourth is presented as a clean DI signal.
    • The verse, pre-chorus, chorus, and middle-section vocal parts are provided on separate tracks, each with a separate double-track. In addition, there's a reverse-vocal special effect leading into the guitar-solo section.
  • Challenges You're Likely To Face:
    • The bass guitar recording is almost unusably uneven.
    • As on a lot of self-produced band recordings, the amp-simulated parts are rather too heavily overdriven, so note-definition suffers as a result and the vocals and cymbals are in danger of being masked.
    • The vocal sound is quite muffled, but if you brighten it up sufficiently then sibilance becomes a significant problem.
    • The lyrics of the whispered vocals during the middle-section are extremely tricky to bring out in the mix.
  • Some Mixing Tips:
    • Don't feel obliged to use all the drum signals in your final mix. You can probably afford to be fairly choosy about which room mics you use, in particular, for instance.
    • Notching the snare channels at 425Hz is probably sensible, and a good dose of compression and saturation is likely to be useful so that the instrument's sustain can compete with the general din from the guitars and cymbals.
    • This is exactly the kind of mix where you can probably get away with replacing the bass with a MIDI line if you wish. Mixing a little of the high frequency content from the original track can help the addition appear to blend slightly better if necessary.
    • Sibilance reduction is a big issue in this mix, so if you need some tips and ideas for this, check out this fairly in-depth article on the subject.
    • Some cuts to the upper midrange of the cymbal and guitar parts will be pretty much essential if you want the vocals to pop through clearly here.
    • I remixed this song for Sound On Sound's May 2011 'Mix Rescue' column, which not only shows how I approached this multitrack myself in practice, but also includes a selection of audio files demonstrating the effects of some of my processing decisions.

If you have any other general questions about this multitrack, just reply to this post and I'll see what I can do.

Mixing Secrets for the Small Studio | Recording Secrets for the Small Studio
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